Not all of them, unfortunately. Which is disappointing, because ALL THE BOYS LOVE MANDY LANE, premiering on-demand today and hitting select theaters October 11, has won quite a bit of praise and anticipation for its U.S. release since its debut at the Toronto Film Festival seven long years ago.

Crafting a form of experimental neo-gialli that seems even less interested in narrative logic than the 70s style it’s recalling, filmmakers Hélène Cattet & Bruno Forzani have been long overdue for a new work in their brand of stirring, sensual, psychedelic cinema. Following the lasting impression of 2009’s AMER, and sheer teasing of THE ABCs OF DEATH entry, “O for Orgasm,” they’ve set upon the Toronto International Film Festival this year with an all-time giallo title and a film—as the teaser so visualizes—sure to blow minds. FANGORIA spoke with the pair for a preview of what to expect from THE STRANGE COLOUR OF YOUR BODY’S TEARS.

Best adapted in Erle C. Kenton’s 1932 ISLAND OF LOST SOULS (pictured above), and most notoriously adapted in 1996’s THE ISLAND OF DR. MOREAU—a disastrous production detailed candidly in the pages of Fango by director Richard Stanley—Warner Bros. is planning to once again film the classic H.G. Wells tale.

The first thing you must know about the film ONLY LOVERS LEFT ALIVE is that it is a vampire film. The second thing you need to know is that it is written and directed by arthouse auteur Jim Jarmusch. Therefore you can fairly easily and accurately assume that it is a vampire film like no other and your embrace of its charms will depend squarely on this revelation.

Historically speaking, horror films and the third dimension have complemented each other akin to the way popcorn has complemented the theatrical experience. During the golden age of horror, 3D was used to scare audiences young and old by bringing their fears off the screen, eliciting a reaction that incorporates beyond strictly the sense of sight, thanks to the magic of optical illusion.

Low budget horror is oversaturated with zombies, so the greatest trick THE DEAD pulled was standing out not especially for its viscera, but for its location. Set in vast African expanses, it impressed with its landscapes, its photography and its languid pace. Stretches of it were so silent that it could have worked as a completely dialogue-free film like Luc Besson’s LE DERNIER COMBAT, and the fact that it paired an American soldier (Rob Freeman) with an indigenous African sergeant (Prince David Osei) gave it at least a suggestion of subtext.

The six-episode on-line series FLESH FOR THE BEAST: TSUKIKO’S CURSE, produced by Fever Dreams and based on its sex-and-gore shocker feature, has wrapped principal photography, and the creators sent along some alluring photos of a recent addition to the cast.

Just earlier, I dived into trailers for most of the short films playing this year’s Fantastic Fest in Austin, Texas. It seemed, by the looks of quality short films and the already announced features, this would be an exceptionally strong year. Then, this happened.

The new GOREZONE has finally been put to bed, and will be shipping out to subscribers later this month. Jump past the jump for the complete contents plus the finalized cover of this blood-streaked mag!